next WWP meeting

July 27, 2011
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WWP Workshop
  • Next Meeting: Tuesday, May 8, 2012, 6:00 - 9:30 p.m.
  • Location: Nancy's Bagel Grounds, 2101 Frankfort Ave, Louisville, KY
    (Corner of Frankfort & Vernon Aves in historic Crescent Hill)
    >>MAP<<

  • Topic: TBA
  • Limit: 3-10 participants per meeting. All writing levels welcome.

      The Writers Workshop Project (WWP) is like a monthly mini writers’ conference. Each meeting includes a mixer, lesson on writing craft, and a workshop. If you don’t have a draft, bring your editor’s hat and help critique. Open to writers of all levels and genres.

      Low workshop fee includes room rental, handouts, bagels & cream cheese. Coffee drinks available for purchase.

      Contact me for more info.

      CANCELLATION POLICY:
      If you must cancel, please give 24 hours' notice to receive a refund minus a $10 reservation fee. (If I have to cancel for any reason, your total fee is always refunded.)

      Try out a WWP workshop once for 10% off. Enter coupon code FIRSTWWP at checkout.


      Available Qty: 10
      Price: $35.00
      What are you working on?:
      Quantity:  

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WWP Logo Notebook
WWP Logo Notebook
This notebook has been specially designed with writers in mind:
  • Sturdy: hard cover, hard back
  • Portable: 5"x7" 100 ruled pages - excellent size for writing
  • Practical: Black ballpoint pen in pen holder included!
  • Spiral bound - opens flat
  • Attractive: Black with silver WWP logo

Ships US Postal Service First Class
Available Qty: 85

Simic’s “The Big War”

May 14, 2012
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Sometimes I just pull a book off the shelf at random and read an excerpt. It’s a round-robin style of reading that gets me through the pain of having more books in my library (and on my Kindle, Nook, iBook) than I will ever get to read.

The latest I grabbed is a signed copy of Charles Simic’s Sixty Poems I bought a couple of years ago at his reading in Butler University. Leafing through it, I stopped at the intriguing title, “The Big War.”

It’s a five-stanza free verse poem in quatrains. Simic addresses the poem to “Margaret,” recalling how, during the war “We played war” with toy soldiers made of clay. “The lead ones they melted into bullets, I suppose.”

There’s an incredible use of repetition in the poem, that seems to enhance the sense that the child understands war as poorly as the clay soldiers to whom he appears as a general, “a large, incomprehending creature / With a moustache made of milk.” For instance,

There was wire inside their limbs,
Inside their chests, but nothing in the heads!
Margaret, I made sure.

Nothing at all in the heads… [his ellipsis]

Simic has an amazing style – accessible, musical, poetic and prosaic melded into one. Critics call his work “accessible,” which is an aesthetic I appreciate. Yet that doesn’t deny them complexity. Every time I pull off a Simic poem, I’m rewarding with a new understanding of experience, and of word music.

the English language isn’t that sexy

May 8, 2012
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ENGLISH AND GENDER

The English language doesn’t have gender, so you’ve been told. Well, that’s not exactly true. Nouns borrowed from other languages, such as the French “fiancé”/”fiancée” use the French gender endings to refer to a male/female engaged to be married. We’ve also created some nouns using the feminine ending “ess” to distinguish between an actor/actress, steward/stewardess, and don’t forget the plain old “man” ending such as “fireman” “policeman” and such – however, these distinctions are being replaced by gender-neutral terms – not because our language evolved that way, but by policy to avoid bias now that we’ve decided to recognize the ability to work in the professions of 51% of the English speaking population heretofore ignored. And there are other gender indications as well.

But what we really mean when we say English doesn’t have gender, is that there aren’t inflections throughout the language to give words a gender characteristic - for instance, in gendered languages the gender given to nouns that refer to things can be quite arbitrary, like French for “beard”, “la barbe” being feminine, and bed, “le lit” being masculine.

English does have what one of my linguistic books calls “biological gender” – in that it has personal pronouns that are specifically used to refer to the actual sex of the person or animal being discussed. They exist only in the third person singular only: “he” and “she,” and “it” for when referring to inanimate objects that have no sex. In the third person plural, They simply covers everything. The lack of a third person singular neuter pronoun that can be used in English to cover whether what’s being referred applies to a man as well as a woman is the source of the ubiquitous so-called singular/plural disagreement grammar error. We don’t want to assume everyone is a he, but we like the way general philosophical statements sound in the singular better than the plural. It seems more eloquent to say i.e.

A person should always think before he acts

Rather than,

People should always think before they act.

But when you agree noun and pronoun correctly in the singulr, you end up using the “universal he.” So students will write,

A person should always think before they act.

Or, writers start using she alternating with he, or awkward  but inclusive forms like” he/she,” “he or she,” “she or he,” and “she/he.” But you pay the price for inclusiveness when you write an inelegant expression such as “A person should always think before he or she acts.” People have even tried to promote a new word to take the role of inclusive singular pronoun, one of whom was “hesh.” “A person should always think before hesh acts.”

There are lots of ways to fix this, other than using the plural. For instance, you can use a gerund:

A person should always think before acting.

Other sentences will suggest other solutions.

But it’s possible that grammatical ire (almost nothing pisses people off as much as grammar errors) over the use of the plural pronoun is based on just another example of a grammarian being in a snit and deciding to change English “for the better.”

A column in The New York Time’s called “All Purpose Pronoun” puts it this way:

This will surprise a few purists, but for centuries the universal pronoun was they. Writers as far back as Chaucer used it for singular and plural, masculine and feminine. Nobody seemed to mind that they, them and their were officially plural. As Merriam-Webster’s Dictionary of English Usage explains, writers were comfortable using they with an indefinite pronoun like everybody because it suggested a sexless plural.

This actually make a lot of sense, because if “a person” can either be a man or a woman, then that’s two possible cases, which seems to argue for the plural “they.” But it’s never going to sound as eloquent as the first example. If “they” had been accepted for hundreds of years, though, then why did we end up using “he” as the universal default gender? Did society at some point take a turn to an even more patriarchal culture? Not in this case. Apparently, the first man to advocate for the “universal he” was a woman:

If any single person is responsible for this male-centric usage, it’s Anne Fisher, an 18th-century British schoolmistress and the first woman to write an English grammar book, according to the sociohistorical linguist Ingrid Tieken-Boon van Ostade. Fisher’s popular guide, “A New Grammar” (1745), ran to more than 30 editions, making it one of the most successful grammars of its time. More important, it’s believed to be the first to say that the pronoun he should apply to both sexes.

Another example that when it comes to gender, English is a tough language to figure out, and has a strange history of  native speakers bypassing language evolution and  trying to make the native tongue “more better” with usually poor results.

helping the abstract writer

May 8, 2012
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One difficult part of teaching writing, as any writing teacher or workshop leader knows, is working with an author who is committed to abstractions.

Sometimes this goes beyond just the apprentice’s tendency to overuse adverbs such as “she laughed sarcastically“  or abstract adjectives of emotion such as “Ed was confused,” or even piled on as “Ed was confused, sad, and angry.”

Sometimes the writer is just committed in fiction and in poetry to telling us the world rather than showing it to us: telling rather than rendering experience. It seems to be an aesthetic choice.

It’s important to point out there are types of poems, and occasions in fiction, where telling is okay, even desirable.  But I’m not talking about those times, I’m talking about what seems to be a conscious method.

Recently, I workshopped someone who found the advice to give up abstraction so offensive that he complained I was judging his work based solely on my personal taste in writing. That’s true, of course, if you ignore the fact that my personal taste is informed by years of study and practice. There’s not much you can do in that case. Understand the writer is immature, and that there’s going to be a delay in craft success. Hope to god none of the terrible abstractions get published and reinforce the problem. Know that when the writer finally gets it, it will be a real breakthrough. Remember when you, yourself had writing issues you were equally immature and stubborn about, and reflect fondly as to how they delayed your writing development for years.

You can also try to appeal to authority. I recommend Janet Burroway’s Fiction: A Guide to Narrative Craft. It’s also a wonderful book for a creative writing class.

A clever writer might argue that if image and experience is what connects the reader to art, then what about modern art? What about looking at a red canvas or even a white canvas in a museum; what about watching Beckett’s absurdest play, Waiting for Godot? What about L=A=N=G=U=A=G=E poetry? What about a gallery that displays a toilet on a pedestal as an object trouvé?  These would be really good refutations, but I think if the writer knew enough about modern art to make them, we probably wouldn’t be having this problem.

But there is philosopher Susanne Langer’s Lectures on Art for a wonderfully intellectually appealing way of discussing these and other issues to the intellectual writer who needs encouragement to get out of the cerebrum. Langer was recommended to me by poet Stephen Dobyns – who, by the way, wrote two books useful for poets: Best Words, Best Order and Next Word, Better Word.

In the end, if the writer is committed you have time on your side. Thousands of years of it. Rendering experience rather than listing abstractions is a fundamental verity of writing for reasons having to do with our human natures.

promotion announcement

April 20, 2012
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I’m pleased to announce my promotion from Lecturer in English (Writing) to Senior Lecturer in English (Writing) at Indiana University Southeast. I couldn’t have done it without the help and support of dozens of friends, family, colleagues and students, and I thank you all from the bottom of my heart.

composer Rachel Short presents Michael Jackman’s poem “Thug Faced Moon”

April 15, 2012
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Unfortunately, this event had to be postponed. More info to follow: Michael Jackman’s poem “Thug Faced Moon” premiers as a through-composed contemporary composition for pipe organ and tenor or soprano voice. The composier, Rachel Short, is a music major at Indiana University Southeast, a poet, and the founder of the NULU monthly open mic. This composition is part of a set of three poems by local poets being set to music.

Location: Trinity United Methodist church, Charlestown Rd., New Albany, IN

AWP call for proposals deadline May 1, 2012

April 14, 2012
By

The AWP announced its call for proposals for the 2013 Conference & Bookfair in Boston will close May 1, 2012.

According to the release, the 2013 conference organizers “seek a wide range of unique, diverse, informative, and intelligent programming that will help us serve our large and growing audience.”  They advise  that the proposal process is competitive, and that those interested in submitting a proposal “familiarize yourself with AWP’s proposal guidelines and expectations to ensure the success of your submission.”

More than 10,000 people attended the 2012 conference in Chicago.

The latest edition of the event proposal handbook is available online at www.awpwriter.org/conference/2013proposal.php

AWP 2013 to feature Heaney, Walcott

April 14, 2012
By

Recently the Association of Writers and Writing Programs announced that the keynote address for its 2013 AWP Conference & Bookfair will feature Nobel laureates Seamus Heaney and Derek Walcott. For more information see  www.awpwriter.org/conference/2013headliners.php

The 2013 meeting will take place March 6 – 9 in Boston at the Hynes Convention Center and Sheraton Boston Hotel.

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